Boston Symphony Orchestra

SEIJI OZAWA, Music Director

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Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President

J. P. Barger, Vice-President George H. Kidder, Vice-President

Mrs. George L. Sargent, Vice-President William J. Poorvu, Treasurer

Vernon R. Alden Mrs. Michael H. Davis David G. Mugar

David B. Arnold, Jr. Archie C. Epps Thomas D. Perry, Jr.

Mrs. John M. Bradley Mrs. John H. Fitzpatrick William J. Poorvu Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W. Rabb

George H.A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland

William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith Mrs. Lewis S. Dabney E. James Morton John Hoyt Stookey

Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins

Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike

Administration of the Boston Symphony Orchestra, Inc.

Thomas W. Morris, General Manager

William Bernell, Artistic Administrator Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director ofPromotion Josiah Stevenson, Director ofDevelopment Theodore A. Vlahos, Director ofBusiness Affairs

Arlene Germain, Financial Analyst Richard Ortner, Administrator of Charles Gilroy, ChiefAccountant Tanglewood Music Center Vera Gold, Promotion Coordinator Robert A. Pihlcrantz, Properties Manager Patricia Halligan, Personnel Administrator Charles Rawson, Manager ofBox Office Nancy A. Kay, Director ofSales Eric Sanders, Director of Corporate Development John M. Keenum, Director of Joyce M. Serwitz, Assistant Director ofDevelopment Foundation Support Diane Greer Smart, Director of Volunteers Nancy Knutsen, Production Assistant Cheryl Silvia Tribbett, Symphony Hall Anita R. Kurland, Administrator of Function Manager Youth Activities James E. Whitaker, House Manager, Symphony Hall

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director ofPublications Editorial Coordinator Print Production Coordinator

Programs copyright ©1984 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.

Harvey Chet Krentzman Chairman

Avram J. Goldberg Mrs. August R. Meyer Vice-Chairman Vice-Chairman

Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary

Mrs. Weston W. Adams Mrs. Ray A. Goldberg Mrs. Hiroshi Nishino Martin Allen Jordan L. Golding Vincent M. O'Reilly

Bruce A. Beal Haskell R. Gordon Stephen Paine, Sr.

Mrs. Richard Bennink Mrs. R. Douglas Hall III John A. Perkins

Peter A. Brooke Francis W. Hatch, Jr. Mrs. Curtis Prout William M. Bulger Mrs. Richard D. Hill Peter C. Read Mary Louise Cabot Susan M. Hilles Robert E. Remis

James F. Cleary Glen H. Hiner Mrs. Peter van S. Rice

John F Cogan, Jr. Mrs. Marilyn Brachman Hoffman David Rockefeller, Jr. Julian Cohen Mrs. Bela T. Kalman John Ex Rodgers Mrs. Nat King Cole Mrs. S. Charles Kasdon Mrs. Jerome Rosenfeld

Arthur P. Contas Richard L. Kaye Mrs. William C. Rousseau Mrs. A. Werk Cook John Kittredge Mrs. William H. Ryan Phyllis Curtin Mrs. Carl Koch Gene Shalit A.V. d'Arbeloff Mrs. E. Anthony Kutten Malcolm L. Sherman D.V. d'Arbeloff John P LaWare Donald B. Sinclair

Mrs. Michael H. Davis Mrs. James F. Lawrence Ralph Z. Sorenson

Mrs. William Otto Eckstein Laurence Lesser Mrs. Arthur I. Strang

William S. Edgerly Mrs. Charles P. Lyman Mrs. Richard H. Thompson

Mrs. Alexander Ellis Mrs. Harry L. Marks William F. Thompson

John A. Fibiger C. Charles Marran Mark Tishler, Jr.

Kenneth G. Fisher J. William Middendorf II Luise Vosgerchian Gerhard M. Freche Paul M. Montrone Mrs. An Wang Peter H.B. Frelinghuysen Hanae Mori Roger D. Wellington

Mrs. Thomas J. Galligan Richard P. Morse John J. Wilson Mrs. Thomas Gardiner Mrs. Robert B. Newman Brunetta Wolfman

Mrs. James G. Garivaltis Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Paul Fromm Benjamin H. Lacy Hazen H. Ayer Carlton R Fuller Mrs. Stephen V.C. Morris

David W Bernstein Mrs. Louis I. Kane David R. Pokross Leonard Kaplan Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. Hart D. Leavitt Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Barbara W. Steiner Mrs. August R. Meyer Secretary Nominating Chairman

Vice-Presidents

Mrs. Gilman W. Conant, Regions Mary P. Hayes, Membership Phyllis Dohanian, Fundraising Projects Mrs. Hiroshi Nishino, Youth Activities

Mrs. R. Douglas Hall III, Mrs. Wilbert R. Sanger, Membership Development Services Mrs. Mark Selkowitz, Tanglewood Mrs. Craig W. Fischer, Tanglewood Mark Tishler, Public Relations

Chairmen of Regions

Mrs. Roman W. DeSanctis Mrs. Charles Hubbard Mrs. Frank E. Remick

Mrs. Russell J. Goodnow, Jr. Mrs. Herbert S. Judd, Jr. John H. Stookey

Mrs. Baron M. Hartley Mrs. Robert B. Newman Mrs. Arthur I. Strang

A new tradition in Cambridge salutes the fine tradition of the Boston Symphony Orchestra.

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The^ Cambridge Group * YOU SET THE GOALS WE HELP YOU REACH THEM BSO Members in Concert

BSO cellist Ronald Feldman leads the Mystic

Valley Orchestra, of which he is music director, BSO in a program including the Mendelssohn Wed- ding March, Mozart's Sinfonia concertante in New Orchestra Faces E-flat for violin and viola, K.364, and the Dvorak Symphony No. 8. Soloists in the Mozart Four new members have joined the ranks of the are BSO violinist Jennie Shames and BSO assis- Boston Symphony Orchestra this season. Born in tant principal violist Patricia McCarty. There will Manitoba, Canada, concertmaster Malcolm Lowe be two performances: on Sunday, 11 November comes to Boston as former concertmaster of the at 3 p.m. at Dwight Hall, 100 State Street, Orchestre Symphonique de Quebec; in 1980 he Framingham College, and on Saturday, 17 won the audition to become concertmaster of the November at 8 p.m. at Cary Hall, 1605 Massa- Toronto Symphony but chose to remain in chusetts Avenue in Lexington. For ticket infor- Quebec. Mr. Lowe was a top prize winner in the mation, please call 924-4939. Montreal International Violin Competition in BSO violinist Max Hobart, who is music 1979, and he has performed with all of the major director and conductor of the Civic Symphony Canadian orchestras. As first violinist of the Orchestra of Boston, leads that orchestra in a Boston Symphony Orchestra, he will also per- gala Pops concert at the Royal Sonesta Hotel form with the Boston Symphony Chamber Play- Ballroom in Cambridge on Friday, 2 November ers and be a faculty member at the Tanglewood at 8:30 p.m. The program includes music of Music Center. Offenbach, Copland, and Bizet, and waltzes by Thomas Martin is the BSO's new second clar- Johann Strauss. Table seats at $15 include des- inetist, replacing Pasquale Cardillo, who retired sert and champagne. For information or reserva- following the Tanglewood season. Mr. Martin was tions, call (617) 326-8483. educated at the Eastman School of Music; his The Melisande Trio BSO flutist Fenwick teachers included D. Stanley Hasty at Eastman, — Smith, BSO principal violist Burton Fine, and Guy Deplus of the Paris Conservatory, and BSO harpist Susan Miron — will perform at the Clifton E-flat clarinetist Peter Hadcock. He was prin- Lutheran Church in Marblehead, 150 Humphrey cipal clarinetist of the Alabama Symphony and Street, on Sunday afternoon, 4 November at co-principal clarinetist with numerous other 4 p.m. The program includes music of Eccles, orchestras, including the Colorado Philharmonic Debussy, Faure, Rameau, and Ravel; admission and the Heidelberg Festival Opera Orchestra in is of the Peter Stengel Fund. For West Germany. free, courtesy further information, please call 1-631-4379. Horn player Jonathan Menkis studied at assistant concertmaster Emanuel [thaca College in Ithaca, New York, and comes BSO performs concertos by Bach and Vivaldi o the Boston Symphony with previous experi- Borok with chamber orchestra to benefit "Arts Created ence in the New Orleans Philharmonic, Sacra- the Lexington Public Schools on nento Symphony, Colorado Philharmonic, and Together" and Sunday afternoon, 11 November at 4 p.m. at several other orchestras. He has been a concerto Hall, 1605 Massachusetts Avenue in Lex- competition winner on two occasions, and he has Cary ington. Admission at the door is $7 ($4.50 for )een an extra player with both the Boston Sym- seniors and students). For further information, phony and the Boston Pops. call 861-7911 or 861-1314. Born in Montreal, Canada, trumpeter Peter BSO violinist Ronald Knudsen, the music hapman received his bachelor's and master's director and conductor of the Newton Symphony legrees from Boston University and first per- Orchestra, leads the orchestra in its opening brmed with the BSO while a student at BU in concert this season on Sunday, 11 November at 966. Already a member of the Boston Pops 8 p.m. at Aquinas Junior College in Newton. )rchestra and principal trumpet of the Boston BSO D principal horn Charles Kavalovski will perform ops Esplanade Orchestra, he was appointed to the Strauss Horn Concerto No. 1; also on the he Boston Symphony Orchestra this past sum- program are Beethoven's Consecration the ner. Mr. Chapman teaches at Boston University of House Overture and Tchaikovsky's Fourth Sym- nd at the Boston Conservatory of Music. e put nursing care in wthe proper environment.

When vising the Milton Health Care rehabilitative programs, organized Facility, You experience an elegant activities as well as social services. atmosphere of residents enjoying Tr^is individual quality care is carried gourmet meals in the gracious 18th into the Adult E^y Care Program, also century dining room, socializing in the available at Milton, offering to its clients Tavern, or relaxing in the Greenhouse a complete program on a dairy basis. charming ice cream parlour or movie At Milton, go beyond the industry theatre. we nursing standards to provide the More important, is the dedicated The very best health care possible. staff" of health care profes- For more information, visit sionals providing traditional or call (617) 333-0600. skilled nursing care, com- Milton bined with individual HEALTH CARE AND RETIREMENT FACILITY

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supported primarily by gifts, grants, legacies and bequests. )hony. For information and reservations, call Attention Subscribers! )65-2555 or 332-7495. Actress Marthe Keller will take the role of Joan

of Arc in Arthur Honegger's Jeanne d'Arc an ^ith Thanks bucher next month at Symphony Hall and in

Ve wish to give special thanks to the National Carnegie Hall. Meryl Streep, who was originally ndowment for the Arts and the Massachusetts scheduled to perform, had to cancel her appear- ouncil on the Arts and Humanities for their ances because of her filming schedule abroad for ontinued support of the Boston Symphony the movie "Plenty." Irchestra.

esus Maria Sanroma

I November 1902-12 October 1984

fifteen. He graduated with highest honors from the Conservatory in 1920 as winner of the Mason & Hamlin piano prize, then studied with Alfred Cortot in Paris and with Arthur

Schnabel in Berlin. In addition to his work with the Boston Symphony, he traveled and per- formed extensively as a soloist, appearing in more than 3,000 performances in twenty-one countries, with close to 150 orchestras and conductors. Mr. Sanroma appeared in world premiere performances of works by composers including Paul Hindemith, Walter Piston, Vladimir Dukelsky (Vernon Duke), Ferde

Grofe, and Edward Burlingame Hill; United

States premieres in which he took part included music by Stravinsky, Ravel, Poulenc, Honegger, and Ernst Krenek, among others.

Even during his years based in Boston, uerto Rican virtuoso Jesus Maria Sanroma, Sanroma maintained a very active interest in

ho was official pianist of the Boston Sym- the musical life of Puerto Rico, appearing hony Orchestra under Serge Koussevitzky there often with colleagues from the BSO and om 1926 to 1944 and a frequent collab- helping young Puerto Rican musicians under-

rator with Arthur Fiedler and the Boston take studies in Boston. In the early 1950s he

ops, died last month at his home in Puerto returned to Puerto Rico, where he became

ico after a long illness; he was 81. Mr. chairman of the music department at the Uni- anroma was sent by the Puerto Rican gov- versity of Puerto Rico, co-founded the Puerto nment to Boston to study at the New Eng- Rico Conservatory of Music, and was named a nd Conservatory of Music when he was fellow of the Institute of Puerto Rican Culture.

&:£#>K ^mm Seiji Ozawa

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The 1984-85 season is Seiji Ozawa's twelfth Japan tour, and he was made an assistant as music director of the Boston Symphony conductor of that orchestra for the 1961-62

Orchestra. In the fall of 1973 he became the season. His first professional concert orchestra's thirteenth music director since it appearance in North America came in Janu- was founded in 1881. ary 1962 with the San Francisco Symphony

Born in 1935 in Shenyang, China, to Orchestra. He was music director of the Japanese parents, Mr. Ozawa studied both Chicago Symphony's Ravinia Festival for five

car Western and Oriental music as a child and summers beginning in 1964, and music later graduated from Tokyo's Toho School of director for four seasons of the Toronto Sym-

Fi Music with first prizes in composition and con- phony Orchestra, a post he relinquished at the ducting. In the fall of 1959 he won first prize end of the 1968-69 season. at the International Competition of Orchestra Seiji Ozawa first conducted the Boston Sym Conductors, Besancon, ere France. Charles phony in Symphony Hall in January 1968; he Munch, then music director of the Boston had previously appeared with the orchestra foj a judge at the competition, Symphony and four summers at Tanglewood, where he invited him to Tanglewood, where in 1960 he became an artistic director in 1970. In the won Koussevitzky Prize for outstanding December 1970 he began his inaugural season student conductor, the highest honor awarded as conductor and music director of the San by the Berkshire Music Center (now the Francisco Symphony Orchestra. The music Tanglewood Music Center). directorship of the Boston Symphony followed

While working with Herbert von Karajan in in 1973, and Mr. Ozawa resigned his San West Berlin, Mr. Ozawa came to the attention Francisco position in the spring of 1976, serv- of Leonard Bernstein, whom he accompanied ing as music advisor there for the 1976-77 on the New York Philharmonic's spring 1961 season.

8 As music director of the Boston Symphony the Grand Prix de la Critique 1984 in the Orchestra, Mr. Ozawa has strengthened the category of French world premieres. reputation internationally as well orchestra's Mr. Ozawa has won an Emmy for the at home, beginning with concerts on the as Boston Symphony Orchestra's "Evening at BSO's 1976 European tour and, in March Symphony" television series. His award- on a nine-city tour of Japan. At the 1978, winning recordings include Berlioz's Romeo et invitation of the Chinese government, Mr. Juliette, Schoenberg's Gurrelieder, and the Ozawa then spent a week working with the Berg and Stravinsky violin concertos with Peking Central Philharmonic Orchestra; a Itzhak Perlman. Other recordings with the year later, in March 1979, he returned to orchestra include, for Philips, Richard China with the entire Boston Symphony for Strauss's Also sprach Zarathustra and Ein significant musical and cultural exchange a Heldenleben, Stravinsky's Le Sacre du entailing coaching, study, and discussion ses- printemps, Hoist's The Planets, and Mahler's sions with Chinese musicians, as well as con- Symphony No. 8, the Symphony ofa Thou- cert performances. Also in 1979, Mr. Ozawa sand. For CBS, he has recorded music of led the orchestra on its first tour devoted Ravel, Berlioz, and Debussy with mezzo- exclusively to appearances at the major music soprano Frederica von Stade and the Men- festivals of Europe. Seiji Ozawa and the Boston delssohn Violin Concerto with Isaac Stern; in Symphony celebrated the orchestra's one- addition, he has recorded the Schoenberg/ hundredth birthday with a fourteen-city Amer- Monn Cello Concerto and Strauss's Don Qui- ican tour in March 1981 and an international xote with cellist Yo-Yo Ma for future release. tour to Japan, France, Germany, Austria, and For Telarc, he has recorded the complete England in October/November that same cycle of Beethoven piano concertos and the year. Most recently, in August/September Choral Fantasy with Rudolf Serkin. Mr. Ozawa 1984, Mr. Ozawa led the orchestra in a two- and the orchestra have recorded five of the and-one-half-week, eleven-concert tour which works commissioned by the BSO for its cen- included appearances at the music festivals of tennial: Roger Sessions's Pulitzer Prize- Edinburgh, London, Salzburg, Lucerne, and winning Concerto for Orchestra and Andrzej Berlin, as well as performances in Munich, Panufnik's Sinfonia Votiva are available on Hamburg, and Amsterdam. Hyperion; Peter Lieberson's Piano Concerto

Mr. Ozawa pursues an active international with soloist Peter Serkin, John Harbison's career. He appears regularly with the Berlin Symphony No. 1, and Oily Wilson's Sinfonia Philharmonic, the Orchestre de Paris, the have been taped for New World records. For French National Radio Orchestra, the Vienna Angel/EMI, he and the orchestra have Philharmonic, the Philharmonia of London, recorded Stravinsky's Firebird and, with so- and the New Japan Philharmonic. His operatic loist Itzhak Perlman, the violin concertos of credits include Salzburg, London's Royal Earl Kim and Robert Starer. Mr. Ozawa holds

Opera at Covent Garden, La Scala in Milan, honorary Doctor of Music degrees from the and the Paris Opera, where he conducted the University of Massachusetts, the New England world premiere of Olivier Messiaen's opera Conservatory of Music, and Wheaton College St. Francis ofAssist in November 1983. in Norton, Massachusetts. Messiaen's opera was subsequently awarded

i Poster

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60 Federal Street Boston, MA 02110 Violas Thomas Martin Burton Fine Peter Hadcock Charles S. Dana chair E-flat Clarinet Patricia McCarty Anne Stoneman chair Bass Clarinet Ronald Wilkison Craig Nordstrom Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Music Directorship endowed by Michael Zaretsky Matthew Ruggiero John Moors Cabot Marc Jeanneret Contrabassoon Betty Benthin Richard Plaster BOSTON SYMPHONY * Lila Brown ORCHESTRA * Mark Ludwig Horns 1984/85 Charles Kavalovski Cellos Helen SagoffSlosberg chair First Violins Jules Eskin Richard Sebring Malcolm Lowe Philip R. Allen chair Daniel Katzen Martha Babcock Concertmaster Jay Wadenpfuhl Charles Munch chair Vernon and Marion Alden chair Richard Mackey Emanuel Borok Mischa Nieland Jonathan Assistant Concertmaster Esther S. and Joseph M. Shapiro chair Menkis Horner Mclntyre chair Helen Jerome Patterson Trumpets Max Hobart * Robert Ripley Charles Schlueter Robert L. Beal, and Luis Leguia Roger Voisin Enid and Bruce A. Beal chair Louis chair Carol Procter Cecylia Arzewski Andre Come Edward and Bertha C. Rose chair Ronald Feldman Charles Daval Bo Youp Hwang * Joel Moerschel Peter Chapman John and Dorothy Wilson chair * Jonathan Miller Max Winder * Sato Knudsen Trombones Harry Dickson Ronald Barron J.P. and Mary B. Barger chair Forrest Foster Collier chair Basses Norman Bolter Gottfried Wilfinger Edwin Barker Fredy Ostrovsky Harold D. Hodgkinson chair Gordon Hallberg Leo Panasevich Lawrence Wolfe Tuba Carolyn and George Rowland chair Maria Stata chair Chester Schmitz Sheldon Rotenberg Joseph Hearne Margaret and William C. Muriel C. Kasdon and Bela Wurtzler Rousseau chair Marjorie C. Paley chair Leslie Martin Alfred Schneider John Salkowski Timpani Raymond Sird John Barwicki Everett Firth Ikuko Mizuno Sylvia Shippen Wells chair * Robert Olson Amnon Levy * James Orleans Percussion Second Violins Charles Smith Marylou Speaker Churchill Flutes Arthur Press Fahnestock chair Doriot Anthony Dwyer Assistant Timpanist Vyacheslav Uritsky Walter Piston chair Thomas Gauger Charlotte and Irving W Rabb chair Fenwick Smith Frank Epstein Ronald Knudsen Myra and Robert Kraft chair Joseph McGauley Leone Buyse Harp Leonard Moss Ann Hobson Pilot Piccolo Laszlo Nagy Willona Henderson Sinclair chair * Michael Vitale Lois Schaefer Evelyn and C. Charles Marran chair * Harvey Seigel Personnel Managers * William Moyer Jerome Rosen Oboes * Sheila Fiekowsky Harry Shapiro Ralph Gomberg * Gerald Elias Mildred B. Remis chair Librarians * Ronan Lefkowitz Wayne Rapier William Shisler * Nancy Bracken Alfred Genovese James Harper * Joel Smirnoff * Jennie Shames English Horn Stage Manager * Nisanne Lowe Laurence Thorstenberg Position endowed by * Aza Raykhtsaum Phyllis Knight Beranek chair Angelica Lloyd Clagett * Nancy Mathis DiNovo Alfred Robison Clarinets * Participating in a system ofrotated Harold Wright Stage Coordinator seating within each string section. Ann S.M. Banks chair Cleveland Morrison ^^^Hl

4

How to conduct yourself on Friday night.

Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.

Honeywell

12 A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War fulfilling Major Higginson's wish to give veteran, and amateur musician Henry Lee "concerts of a lighter kind of music." These Higginson dreamed of founding a great and concerts, soon to be given in the springtime

permanent orchestra in his home town of and renamed first "Popular" and then Boston. His vision approached reality in the "Pops," fast became a tradition. spring of 1881, and on 22 October that year

the Boston Symphony Orchestra's inaugural During the orchestra's first decades, there concert took place under the direction of con- were striking moves toward expansion. In

ductor Georg Henschel. For nearly twenty 1915, the orchestra made its first transconti-

years, symphony concerts were held in the old nental trip, playing thirteen concerts at the Boston Music Hall; Symphony Hall, the Panama-Pacific Exposition in San Francisco. orchestra's present home, and one of the Recording, begun with RCA in the pioneering world's most highly regarded concert halls, days of 1917, continued with increasing fre- was opened in 1900. Henschel was succeeded quency, as did radio broadcasts of concerts. by a series of German-born and -trained con- The character of the Boston Symphony was ductors —Wilhelm Gericke, Arthur Nikisch, greatly changed in 1918, when Henri Rabaud Emil Paur, and Max Fiedler— culminating in was engaged as conductor; he was succeeded the appointment of the legendary Karl Muck, the following season by Pierre Monteux. These who served two tenures as music director, appointments marked the beginning of a 1906-08 and 1912-18. Meanwhile, in July French-oriented tradition which would be 1885, the musicians of the Boston Symphony maintained, even during the Russian-born had given their first "Promenade" concert, Serge Koussevitzky's time, with the employ- offering both music and refreshments, and ment of many French-trained musicians.

The first photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882

13 The Koussevitzky era began in 1924. His

extraordinary musicianship and electric per- sonality proved so enduring that he served an unprecedented term of twenty-five years. In

1936, Koussevitzky led the orchestra's first concerts in the Berkshires, and a year later he

and the players took up annual summer resi- dence at Tanglewood. Koussevitzky passion- ately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the found- ing at Tanglewood of the Berkshire Music Center, a unique summer music academy for

young artists. To broaden public awareness of the Music Center's activities at Tanglewood, Henry Lee Higginson the Berkshire Music Center will be known as the Tanglewood Music Center beginning with the 1985 session.

Expansion continued in other areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The

Boston Pops will celebrate its hundredth birth- day in 1985 under Mr. Williams's baton.

Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- Georg Henschel porary composers and introduced much music

Karl Muck Pierre Monteux Serge Koussevitzky

14 from the French repertory to this country. gram of centennial commissions—from During his tenure, the orchestra toured abroad Sandor Balassa, Leonard Bernstein, John for the first time, and its continuing series of Corigliano, Peter Maxwell Davies, John Youth Concerts was initiated. Erich Leinsdorf Harbison, Leon Kirchner, Peter Lieberson, began his seven-year term as music director in Donald Martino, Andrzej Panufnik, Roger 1962. Leinsdorf presented numerous pre- Sessions, Sir Michael Tippett, and Oily mieres, restored many forgotten and neglected Wilson—on the occasion of the orchestra's works to the repertory, and, like his two prede- hundredth birthday has reaffirmed the orches- cessors, made many recordings for RCA; in tra's commitment to new music. Under his addition, many concerts were televised under direction, the orchestra has also expanded its his direction. Leinsdorf was also an energetic recording activities to include releases on the director of the Berkshire Music Center, and Philips, Telarc, CBS, Angel/EMI, Hyperion, under his leadership a full-tuition fellowship and New World labels. program was established. Also during these From its earliest days, the Boston Sym- years, the Boston Symphony Chamber Players phony Orchestra has stood for imagination, were founded, in 1964; they are the world's enterprise, and the highest attainable stan- only permanent chamber ensemble made up of dards. Today, the Boston Symphony Orches- a major symphony orchestra's principal play- tra, Inc., presents more than 250 concerts ers. William Steinberg succeeded Leinsdorf in annually. Attended by a live audience of nearly 1969. He conducted several American and 1.5 million, the orchestra's performances are world premieres, made recordings for heard by a vast national and international Deutsche Grammophon and RCA, appeared audience through the media of radio, tele- regularly on television, led the 1971 European vision, and recordings. Its annual budget has tour, and directed concerts on the east coast, grown from Higginson's projected $115,000 in the south, and in the mid -west. to more than $20 million. Its preeminent posi-

Seiji Ozawa, an artistic director of the tion in the world of music is due not only to the

Berkshire Festival since 1970, became the support of its audiences but also to grants from orchestra's thirteenth music director in the fall the federal and state governments, and to the of 1973, following a year as music advisor. generosity of many foundations, businesses,

Now in his twelfth year as music director, Mr. and individuals. It is an ensemble that has

Ozawa has continued to solidify the orchestra's richly fulfilled Higginson's vision of a great reputation at home and abroad, and his pro- and permanent orchestra in Boston.

Charles Munch Erich Leins William Steinberg

15 A Unit of Allied Stores. BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

One Hundred and Fourth Season, 1984-85

Thursday, 8 November at 8 Friday, 9 November at 2 Saturday, 10 November at 8 grr<^

YOEL LEVI conducting

MOZART Symphony No. 29 in A, K.201(186a)

Allegro moderato Andante

Menuetto; Trio

Allegro con spirito

INTERMISSION

BRUCKNER Symphony No. 3 in D minor (version of 1889)

Mehr langsam, misterioso

(Rather slowly; mysterious) Adagio, bewegt, quasi Andante

(Adagio, with movement, like an Andante)

Scherzo: Ziemlich schnell; Trio

(Scherzo: Rather fast)

Finale: Allegro

Thursday's and Saturday's concerts will end about 9:50 and Friday's about 3:50.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano

|Please be sure the electronic signal on your watch or pager is switched off during the concert.

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

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Wolfgang Amade Mozart

Symphony No. 29 in A, K.201(186a)

Joannes Chrysostomus Wolfgang Gottlieb Mozart, who began to call him- self Wolfgango Amadeo about 1770 and Wolfgang Amade in 1777, was born in Salzburg, Austria, on 27 January 1756 and died in Vienna on 5 December 1791. He composed his A major symphony in

Salzburg in 1774; the manuscript is dated 6 April ofthat year. It was cer- tainly performed in Salzburg at that

time, though no date ofperformance is known. The earliest known American performance was given by the American Symphony Orchestra, Sam Franko, con- ductor, in New York on 24 March 1897.

It was not performed by the Boston Sym- phony Orchestra until Serge Kousse- vitzky introduced it on 16 and 17 October 1936, repeating it some twenty-five times in the next thirteen years. The symphony has also been performed here under the direction ofLeonard Bernstein, Erich Leinsdorf Charles Munch, and Colin Davis, who led the most recent performances in January 1975. The symphony calls for a small ensemble: two oboes, two horns, and strings.

We tend to think of a symphony as a particularly demanding, large-scale orchestral work that will serve as the high point (and sometimes even the only piece) on an orchestral program. That is a view that developed during the nineteenth century, largely owing to the work of Beethoven, abetted by such later masters as Brahms, Bruckner, and Mahler. But in the eighteenth century—and especially before the last quarter of that century the notion of "symphony" was normally altogether less pretentious. It was most often considered merely preparation for a main event, as the definition by Johann Philipp Kirnberger, written for Sulzer's General Theory of the Fine Arts (1772), indicates:

The symphony is particularly suited to the expression of greatness, solemnity, and

stateliness. Its purpose is to prepare the listener for the important [!] music that

follows, or, in a concert in a hall, to exhibit all the pomp of instrumental music . . .

The concert symphony, which constitutes an independent entity with no notion of its

serving to introduce other music, achieves its purpose solely through a sonorous,

brilliant, and fiery manner of writing.

The symphony-as-introduction was generally less highly regarded than the opera or oratorio that followed. It was often merely a curtain-raiser, and it may even have played a role in church services. Sometimes a symphony might be placed at the end of a concert, but it was also common to play all of the movements except the finale at the beginning

(where they would function as an overture) and then save the last movement to end the evening's music-making, most of which would be vocal rather than instrumental.

During the last years of the eighteenth century, though, Haydn and Mozart wrote symphonies that were clearly independent entities that demanded the attention of listeners in a way that many earlier symphonies did not. The character of the instrumental writing grew more complex and virtuosic, the ideas became bolder and more dramatic, and

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sudden shifts of key, rhythm, dynamics, and mood gave the symphony a more dramatic character. The process was not, perhaps, entirely intentional on the composers' part, and it took place over a period of decades. But there are, nonetheless, certain high-water marks along the way, scores that capture a new level of seriousness and complexity

(attributes that often revealed themselves in music of considerable wit). One such score is the Mozart symphony conventionally identified as No. 29 in A major.

Like so many of Mozart's Salzburg symphonies, this one too exists with virtually no indication of the reason why Mozart might have composed it and to what purpose it might have been put. It is part of a massive outpouring of symphonies in the early 1770s, mostly for the relatively small forces available to Mozart in Salzburg (it was only after visiting

Mannheim in 1778 that Mozart wrote to his father, "Ah, if only we too had clarinets! You cannot imagine the glorious effect of a symphony with flutes, oboes, and clarinets."). But even though he was limited in the size and instrumentation of his orchestra, Mozart's symphonies seem to be aiming in the direction of greater weight and significance. In the symphony in A this weight can be seen partly in Mozart's decision to compose three of the four movements (all except the Menuetto) in the shape that we call sonata form, generally regarded as a serious or intellectual approach. Each of these sonata-form movements has two substantial sections — the exposition and the development-recapitulation complex that are supposed to be repeated, and in all three of these movements Mozart adds a further element of weight in a coda that brings the movement to a close. In addition, Mozart seems to be intent on fusing some chamber music elements (especially the independent part-writing) with the older symphonic tradition. He may have developed this interest under the influence of Haydn, who was experimenting in many of the same ways early in the 1770s.

The first movement is striking in its complete avoidance of the customary display of fanfares and dramatic bow-strokes to open the work. Indeed, it begins with the presenta-

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tion of a sober argument— a quiet octave leap in the violins, followed by a gradually

climbing figure in eighth-notes, all of this supported by the lower strings in a contrapuntal

st vie that suggests the character of church music. When the phrase ends, the material begins a repetition, but now forte, with sustained octaves in the wind instruments and an imitation between upper and lower strings on the main theme. Mozart arrives with remarkable promptness at the new key and presents a whole series of new thematic ideas of varving character. The development is animated by running scale passages, and the recapitulation brings back aD of the varied material of the exposition, now in the home key. The coda recalls the imitation of the opening once again.

Both the second and third movements are built on themes emphasizing dotted rhythms, a characteristic of much French music in the late eighteenth century, where it was considered especially stately. The slow movement is given over largely to the muted strings, with occasional support or echoing from the woodwinds, which act to enrich the string quartet texture. The Menuetto provides graceful contrasts of color and dynamics while concentrating single -mindedly (in the main section) on one rhythmic pattern.

The finale, Allegro con spirito, is really filled with spirit and fire. The measured tremolos, the trills, the racing scales up or down all keep the level of activity high, with only the slightest trace of relaxation for the secondary theme. Each of the major sections—exposition, development, and recapitulation—ends with a breathtaking upward scale to nothing. Has everything come to a grinding halt? But no! After a heartbeat's pause, the racing figure continues in the next section of the piece. At the end of the recapitulation, this racing figure continues in a bold orchestral unison to the final energetic phrases. One more rushing scale to silence—and Mozart's yea cfesprit comes to its breathless conclusion.

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24 Anton Bruckner

Symphony No. 3 in D minor (version of 1889)

JosefAnton Bruckner was born in Ans- felden, Upper Austria, on 4 September 1824 and died in Vienna on 11 October 1896. He completed the full score ofhis Third Symphony in its unpublished originalform on 31 December 1873; by the spring of1874 this had already been subjected to revision. Bruckner finished what we may call the second version ofthe work on 28 April 1877 and himself led the first performance, with the Vienna Philharmonic, on 16

December that year (see below) . This was published, revised and cut, by Theodor R'dttig in Vienna, in 1878, in orchestral score and also in a version by Gustav Mahler and R. Krzyzanowsky for piano four- hands. The third and final version ofBruckner's Third Symphony incorporates changes made 1888/1889, was first published by R'dttig in 1890, and

had its first performance at a Vienna Philharmonic concert conducted by Hans Richter on 21 December that year. The first American performance of the Bruckner Third, in its revised version of1877, was given by Walter Damrosch with the New York Symphony Society at the Metropolitan Opera House on 5 December 1885. The first Boston Symphony performance, in Rdttig's edition of1890, was given by Wilhelm Gericke in March 1901. The only other BSO performances were given by Seiji Ozawa in October 1979; Ozawa conducted the 1877 version in the edition ofFritz Oeser, published 1950. This week, Yoel Levi leads the version of1889 in a 1927 Universal-Edition score edited by Joseph W'dss, with emendations, particularly to the second movement, from the 1959 score of the International Bruckner Society, Vienna, as edited by Leopold Nowak. In all instances, the score calls for two each offlutes, oboes, clarinets, and bassoons, four horns, three trumpets, three trombones, timpani, and strings.

And all of this, if you've gotten through it, is to simplify the matter as much as possible!

Dealing with the revisions to Bruckner's symphonies is to confront one of the thorniest

problems in the music-historical literature, and the question is as much concerned with an

understanding of Bruckner the man and Bruckner the composer as it is with the musical scores themselves.

Bruckner's Third Symphony bears a dedication to the "Meister Richard Wagner, in

tiefster Ehrfurcht,^ the German word "Ehrfurcht" implying a combination of awe and

reverence. Bruckner had first fallen under Wagner's spell while studying musical form and orchestration with Otto Kitzler in Linz. On 13 February 1863 Kitzler produced the

first performance there of Wagner's Tannhduser; he and Bruckner studied the score together. Bruckner was included among the artists Wagner invited to Munich for the

premiere of Tristan und Isolde in May 1865, and this was their first meeting. In

Bruckner's words, "the Master . . . proved unusually kind and friendly towards me,

seeming to take a liking to me at once. I could not even bring myself to sit down in his

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26 presence at first, but he was reassuringly congenial and invited me to join his circle every evening."

Bruckner began work on his Third Symphony late in 1872. The following September he carried the scores of both his Second and Third symphonies to Bayreuth (the orchestration of the Third's finale was not yet complete) in the hope that Wagner would choose one of them for dedication to himself, "but only if the Master were more or less satisfied, as I did not wish to do sacrilege to his most celebrated name." Wagner chose the Third, being particularly taken with the opening trumpet theme (he thereafter referred to its composer as "Bruckner the trumpet"). Wagner was also doubtless taken with the numerous musical quotations from his own works in Bruckner's score, but all that remain of these in the second (1877) version are a reference to the Walkure "magic slumber" motif near the close of the slow movement and a brief burst of "magic fire" midway through the finale. As he recalled much later, in an 1884 letter to the Wagner disciple Baron Hans von Wolzogen, Bruckner spent two-and-a-half hours with Wagner on this occasion, during which time Wagner talked about the Viennese musical scene and served Bruckner continuously with beer. By the time he returned to his lodgings, Bruckner was so overwrought that he had forgotten which of the two symphonies the "master of masters" had chosen; he wrote Wagner a note, which still survives, to confirm that it was the symphony "where the trumpet begins the theme."*

*Bruckner's hero-worship of Wagner continued. In 1882, Wagner promised Bruckner that one day

he would perform all of Bruckner's works. In response to whether he had heard and liked Parsifal,

Bruckner knelt, pressed Wagner's hand to his lips, and responded, "Oh master, I worship you." Wagner's reply: "Be calm, Bruckner."

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Bruckner's note to Wagner, with Wagner's response: "Symphony in D minor, where the trumpet begins the theme. A. Bruckner." "Yes indeed! Heartfelt greetings! Richard Wagner."

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28 By the spring of 1874 Bruckner had already subjected the Third Symphony to some revision and noted that it was "considerably improved," but his early hopes for its performance came to nothing. It was shortly after completion of his Fifth Symphony in May 1876 that he turned to the Third once again. The Vienna premiere on 16 December 1877 was to have been directed by Johann Herbeck, one of Bruckner's strongest supporters in Vienna and leader of the Gesellschaft concerts since 1859, but Herbeck's sudden death two-and-a-half weeks beforehand resulted in the composer himself having to conduct. The occasion was one of the great debacles of Bruckner's career: his podium ability was inadequate; the audience fled the hall in increasing numbers during the performance; the orchestra itself left the composer alone onstage when the work was done; and the anti-Wagnerian press did its worst. The only good that seems to have come out of all this was the publisher Theodor Rattig's offer to print the work, but even then it was a revised and cut version that appeared.

The final stage in the history of Bruckner's Third Symphony came only much later. On 4 September 1887 he wrote to the conductor Hermann Levi, who had led the premiere of Parsifal in 1882 and who became a staunch supporter of Bruckner's music, that he had completed his massive Eighth Symphony. Levi, unable to understand or appreciate the new score, sent word of this to Bruckner through Joseph Schalk, one of Bruckner's students and disciples. Bruckner was crushed—the effect of Levi's reaction upon him has been described by Derek Watson as "the greatest setback of his creative career."

Neurotic symptoms which plagued him at various times in his life reappeared, and he even considered suicide. He decided to revise not just the Eighth Symphony, but earlier works as well, including the First and Third symphonies, and it was during this period that the handiwork of Bruckner's followers took its greatest toll. The Austrian conductor Franz Schalk, brother of the aforementioned Josef, was responsible for considerable abridgement of the Third's finale, and in instances where Bruckner did not accept Schalk's suggestions, he nevertheless conceded to rewrite certain passages himself. We know, too, that it was

Schalk who provided some of the newly written transitional passages in this final version of the score, which was printed by Rattig in 1890 and later also by Eulenberg, Peters, and

Philharmonia. (To complete the picture, it must be mentioned that the 1890 printing differed in various respects from Bruckner's own copy of the score, and it was not until

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30 1959 that a critical edition of the 1889 version appeared in print, edited by Leopold Nowak for the International Bruckner Society in Vienna.)

So there are basically two versions of Bruckner's Third Symphony available for performance (the "basically" referring to the fact that each of these exists in different editions): the earlier version of 1877 and the "final" version of 1889. When the Boston

Symphony gave the 1877 version here in 1979, 1 outlined the arguments in favor of that score, citing particularly the Schalk-imposed cuts and emendations to the 1889 finale, the stylistic inconsistencies of the rewritten 1889 score arising from the juxtaposition of material in Bruckner's earlier and later styles, and the fact that the version of 1877 more closely represents the composer's own intentions and better reflects his emergence as a symphonist than does the version of 1889. But the 1889 version has its proponents, and for historical reasons at least, it is of interest to hear the score which met with such enthusiastic approval in Vienna when Hans Richter reintroduced the Third Symphony in December 1890—on a program which included both versions of the score! —and which Bruckner, albeit with the Schalks' encouragement, claimed to be "incomparably better than the original." As the composer wrote later to his biographer August Gollerich: "I am still too deeply moved by its reception by the Philharmonic audience, who must have recalled me at least twelve times, over and over again!"

Perhaps more than any other symphonist, Bruckner demands of the listener a willingness to be patient, to accept the extremely broad time-scale of his music, to become absorbed in the steady but slow and granitic process by which he introduces his ideas. The hushed pianissimo for strings which opens the first movement of the Third Symphony harks back to Beethoven's Ninth. A trumpet theme is answered by woodwinds and horn,

Silhouette by Otto Bohler of Wagner and Bruckner at Bayreuth

31 Week 5 the dynamic level builds to fortissimo, and another idea, comprised of an abrupt descending motive for full orchestra, to which the strings quietly respond, is introduced. These are the materials of the opening paragraph, and the overall continuity and

rhythmic integration of the entire first movement grow out of these materials. The main

idea of the second structural unit is a warm, broad theme for strings which juxtaposes three-against-two cross-rhythms. Pointed octave-leaps in the strings accompany the

reentry of the full orchestra. A C major trumpet phrase provides a sense of resolution; this

is followed by a suggestion of the opening motto theme in the full orchestra. After the

exposition winds down to a close, the rest of the movement is given over to the development and restatement of these ideas, with a big climax based on the motto theme occurring midway through.

The Adagio, considerably abridged in the 1889 version, is prayerful and solemn. There are three themes, the second of them beginning with a long-breathed, lyric melody in the

violas. When the opening theme returns, it is heard first in the winds rather than in the

strings, the latter providing a quiet pizzicato accompaniment. At the end, following a

massive climax for full orchestra, the music ascends gloriously heavenward in a consoling phrase for high strings and winds heard against sombre brass chords. Then, in the space of We know a good investment whenwe hear one.

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32 less than a measure, the dynamic level drops from piano to pianississimo (ppp) and we have the introduction of the Walkure "magic slumber" motif: Bruckner's two heroes, God and Wagner, stand, as it were, side by side. The third-movement scherzo-and-Trio draws us back to earth; the Trio is particularly rich in its evocation of folk-dance and the Austrian peasantry.

The finale, like the first movement, is based on three thematic blocks: in the first, a broad and declamatory phrase, rhythmically related to the trumpet theme of the opening movement and thereby preparing that theme's later reappearance, is proclaimed against a rushing string figure. The second paragraph juxtaposes a lilting polka in the strings against elements of a solemn church chorale in the brass and woodwinds; during an evening stroll with his biographer Gollerich, Bruckner pointed to an open window and commented on this apparent paradox:

From the mansion opposite comes the sound of dance music and merrymaking, while

here on this side lies a man on his deathbed. Such is life. That's what I had in mind

when I wrote the theme you ask about.

The third idea, which has been described as a sort of "staggered unison," is a forceful string figure against which the other orchestral groups are heard; two statements of this idea are separated by a lyrical relative. The rather brief development is followed by a foreshortened recapitulation, which entirely omits the "staggered unison" of the exposi- tion (this had served to prepare the coda in the 1877 version). The symphony closes in triumphant D major, the resounding final pages based on the opening trumpet theme. —Marc Mandel R1QUM M. DANA, inc: JEWELERS

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34 More . . .

Stanley Sadie, who wrote the fine article on Mozart in The New Grove (the article has just been published separately by Norton), is also the author of Mozart (Grossman, also paperback), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's classic Mozart: The Man, the Music is still worth knowing (Oxford paperback). Wolfgang Hildesheimer's Mozart, which has recently been published in English translation (Farrar

Straus Giroux; also available in a Vintage paperback), was a best-seller in Germany. It is a fascinating 366-page essay built up out of many short sections dealing primarily with

Mozart's character, personality, and genius. Though it is sometimes frustrating to read in this format, the cumulative effect of the author's observations and criticism of the old

"haloed" Mozart is to provide a stimulating new point of view to readers who have not followed the recent specialist literature on the composer. There are chapters on the Mozart symphonies by Jens Peter Larsen in The Mozart Companion, edited by Donald Mitchell and H.C. Robbins Landon (Norton paperback), and by Hans Keller in The Symphony, edited by Robert Simpson (Pelican paperback). Any serious consideration of Mozart's music must include Charles Rosen's splendid study The Classical Style (Viking; also Norton paperback). Specialists in authentic early music performance practice have now progressed beyond J.S. Bach to Mozart, and an important series of records has now appeared containing all of the Mozart symphonies performed on original instruments by an orchestra of the precise size and physical placement of the various orchestras for which

Mozart composed them (neither size nor arrangement was standardized in his day, and the music sometimes reflects the character of a given ensemble). The Symphony No. 29 in A is in Volume 4 of the series, played by the Academy of Ancient Music with Jaap Schroder, concertmaster, and Christopher Hogwood, continuo. Recommended recordings that use modern instruments include Sir Colin Davis's reading with the London Symphony Orchestra, with symphonies 25 and 32 (Philips Festivo), and Neville Marriner's with the

Academy of St. Martin-in-the-Fields, coupled with Symphony No. 28 (Philips).

—S.L.

There are two good basic biographies of Bruckner: the one by Derek Watson in the Master Musicians series (Littlefield paperback), and Bruckner by Hans-Hubert Schonzeler in the Library of Composers series (Grossman paperback). Deryck Cooke's chapter on Bruckner in The Symphony, edited by Robert Simpson, is excellent (Pelican paperback). Simpson's monograph on Bruckner and the Symphony (British Broadcasting

Corporation) is also first-rate, and The Essence ofBruckner, likewise by Simpson, subjects the symphonies to very close critical and musical analysis (Chilton). Deryck Cooke's The

Bruckner Problem Simplified, reprinted from The Musical Newsletter, is an indispensa- ble guide to the various editions of Bruckner's symphonies (Novello). The version of Bruckner's Third being performed here by Yoel Levi this week was recorded by George Szell and the Cleveland Orchestra in a very strong performance for CBS (deleted from the domestic catalog but still available as an import). The 1889 version of Bruckner's score is available also in very good recordings by Eugen Jochum with the Berlin Philharmonic

(DG) and Karl Bohm with the Vienna Philharmonic (London), but my preference is for the 1877 version in the excellent performance by Bernard Haitink and the Amsterdam Concertgebouw (Philips). A new recording of the "original" version with Eliahu Inbal and the Frankfurt Radio Symphony Orchestra has recently been issued by Teldec (along with the Fourth and Eighth symphonies); I have not heard it. —M.M.

35 Week 5 :: , Yoel Levi

orchestras, the Bamberg Symphony, the French National Orchestra and Orchestre de Paris, the Toronto Symphony, and other

orchestras in Europe and Canada. In the m *>Jllmmam United States he has appeared with the

orchestras of Baltimore, Buffalo, St. Louis, MS...,' ,S i St. Paul, Denver, and Utah, and the National Symphony in Washington. Forthcoming sea- N sons will bring Mr. Levi's debut with the sym- ^^r j» ^ mU phony orchestras of Dallas, Seattle, Indianapolis, and Syracuse, as well as the

Tonhalle Orchestra in Zurich, the Munich Bavarian Radio Orchestra, and Japan's V Yomiuri Symphony Orchestra; he will also make return appearances in Baltimore,

Cleveland, and Bamberg, Germany. He is Yoel Levi was born in Rumania&in 1950 and scheduled to appear with the Berlin Philhar- shortly thereafter moved with his family to monic in December 1984 and with the London Israel. He began studying music at a very Symphony in March 1985. early age and became accomplished in violin, Mr. Levi's recording of RachmaninofFs piano, and percussion. After receiving a mas- Piano Concerto No. 2 and Rhapsody on a ter of arts degree with distinction from the Tel Theme of Paganini with Martino Tirimo and Aviv Academy of Music, he studied conduct- the Philharmonia Orchestra and his recording ing at the Jerusalem Academy of Music under of the Brahms Second Concerto with Tirimo Mendi Rodan, continuing with Franco Ferrara and the London Philharmonic, both for EMI, in Siena and Rome, with Kiril Kondrashin in have been critically acclaimed. His latest Holland, and at London's Guildhall School of recordings with the Cleveland Orchestra for Music and Drama. In 1978 he was appointed Telarc include excerpts from Prokofiev's conducting assistant of the Cleveland Orches- Romeo and Juliet, the Sibelius First and Sec- tra, and that same year he won first prize in ond symphonies, and Finlandia. Mr. Levi is the International Conductors Competition in married; he and his wife Jacqueline have two Besancon, France. Within two years, Mr. Levi sons. He makes his debut with the Boston was named resident conductor of the Symphony Orchestra at this week's concerts. Cleveland Orchestra, a post he held through the 1983-84 season. Besides his scheduled concerts during his Cleveland tenure, he stepped in to conduct numerous performances on short notice, and he also conducted with that orchestra, or members drawn from it, two benefit concerts, one with Leontyne Price as soloist, the other with soloists Maureen Forrester, Leonard Rose, and Shlomo Mintz.

Much in demand as a guest conductor, Mr. Levi has appeared with orchestras throughout the world. In recent seasons he has led con- certs and recordings with the London Philhar- monic and Philharmonia, the Israel Philharmonic, the Berlin and Frankfurt radio

37 Self-portrait of a genius

With wit and charm, Aaron Copland, America s greatest living composer looks back on the first four decades of his life in

music. It is a monumental work about an exceptional era in Americas artistic history and the events, here and abroad, that spawned his genius. Enhanced by "interludes" that feature reminiscences by friends and colleagues like Nadia Boulanger, Virgil Thompson, Agnes DeMille, and Leonard Bernstein, Copland is a stirringachronicle of our cultural times. 1900 through 1942 Aaron Copland and Vivian Perlis

With over 100 photographs, $24.95 at bookstores or direct from

ST. MARTIN'S/MAREK, 1 75 Fifth Avenue, New York, NY 1001 (Mail orders: Add $1.50 extra for postage. Send Attn: PY)

"I love dining With four st|rsT

'I said join meat Apt' /The Boston Globe

gave it four stars, j

(Then Esquire califd r

terrific. Oh, and Boston \

It's becoming a habit, W»* Apley's, please/'

EXCEPTIONAL GOURMET AMERICAN CUISINE RESERVATIONS A MUST. 236-2000 AT THE SHERATON BOSTON PRUDENTIAL CENTER

38

I The Boston Symphony Orchestra gratefully acknowledges the following corporations and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business

Leaders' listing comprise the Business Honor Roll.)

1984-85 Business Honor Roll ($10,000+ )

Advanced Management Associates, Inc. Stanley H. Kaplan Educational Center Harvey Chet Krentzman Susan B. Kaplan

Analog Devices, Inc. Liberty Mutual Insurance Company Ray Stata Melvin B. Bradshaw

Bank of Boston Mobil Chemical Corporation

William L. Brown Rawleigh Warner, Jr.

Bank of New England New England Mutual Life Insurance Peter H. McCormick Company Edward E. Phillips BayBanks, Inc.

William M. Crozier, Jr. New England Telephone Company Gerry Freche Boston Consulting Group, Inc.

Arthur P. Contas Raytheon Company

Boston Edison Company Thomas L. Phillips

Thomas J. Galligan, Jr. Red Lion Inn John H. Fitzpatrick Boston Globe /Affiliated Publications William 0. Taylor State Street Bank & Trust Company William S. Edgerly Cahners Publishing Company, Inc. Norman Cahners The Sheraton Corporation Kapioltas Country Curtains John

Jane P. Fitzpatrick The Signal Companies Paul M. Montrone Digital Equipment Corporation Kenneth H. Olsen Teradyne Corporation

Dynatech Corporation Alexander V. d'Arbeloff

J.P. Barger Urban Investment & Development Company/ Wm. Filene's & Sons Company Copley Place Michael J. Babcock R.K. Umscheid GTE Electrical Products Dean T Langford WCRB/Charles River Broadcasting, T Inc. General Electric Company Richard L. Kaye John F. Welch, Jr. WCVB-TV 5 Gillette Company S. James Coppersmith Colman M. Mockler, Jr. Wang Laboratories John Hancock Mutual Life Insurance Company An Wang E. James Morton

39

fEaB irins l/-*£Z±uin <^J\ug± <^A/sujton of k

A Distinctive Selection of Oriental Rugs and Wall Hangings

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Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686

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MAHLER'S SYMPHONY #9 HUSKIES with Solti conducting Take a step back in time to the Chicago Symphony on Digital's 30's & 40's. Enjoy casual, comfortable Grammy Award Winning Recording. dining, Fabulous Steaks, Homemade 16.58 Desserts, Novelty Drinks and "The Best Rarely performed. Rarely recorded. Baby Back Ribs in Town". GRIEG'S PEER GYNT with Edo De The Unusual Atmosphere, convenient *Kn, Waart conducting the San location, between Symphony Hall Francisco Symphony and Huntington (B.U.) Theatre, has and Chorus made this a favorite Eating & Drinking S.29 Place for before and after the shows.

The Sunday Brunch is Unsurpassed.

Full Menu 'til Midnight HARVARD COO>ERAnv£ Visa Accepted soaetv MC,

. 280 Huntington Avenue Available at Harvard Sauare, MIT. Student Center, Children's Boston, Mass. Medical Center and One Federal St., Boston. Coop 247-3978

40 Business Leaders ($1,000+)

Accountants BAYBANKS, INC. *Signal Technology Corporation Arthur Andersen & Co. William M. Crozier, Jr. William Cook

William F. Meagher Chase Manhattan Corporation Employment COOPERS &LYBRAND Robert M. Jorgensen * Emerson Personnel Vincent M. O'Reilly Citicorp (USA), Inc. Rhoda Warren Charles DiPesa & Company Walter E. Mercer Robert Kleven & Company, Inc. William Coolidge Bank DiPesa & Trust Company Robert Kleven Charles Morash *Ernst & Whinney W Russell Reynolds Associates, Inc. James G. Maguire Framingham Trust Company Jack H. Vernon PEAT, MARWICK, MITCHELL William A. Anastos *TAD Technical Services Corp. & COMPANY Mutual Bank David J. McGrath, Jr. Herbert E. Morse Keith G. Willoughby Energy *TOUCHE ROSS & COMPANY Rockland Trust Company

James T. McBride John F. Spence, Jr. Buckley & Scott Company Charles H. Downey * Arthur Young & Company SHAWMUT BANK OF Thomas R McDermott BOSTON *HCW Oil & Gas Company, Inc. John M. Plukas Advertising/ PR. William F. Craig Hatoffs United States Trust '*Hill, Holliday, Connors, Company Stanley Hatoff James V. Sidell Cosmopulos, Inc. MOBIL Jack Connors, Jr. CHEMICAL Building/ CORPORATION Hill & Knowlton Contracting Rawleigh Warner, Jr. Patricia Butterfield J.F. White Contracting Company Thomas Yankee Oil & Gas, Inc. '*Kenyon & Eckhardt J. White Paul J. Montle Thomas J. Mahoney |*Newsome & Company Consulting/ Management Finance Peter Farwell ADVANCED MANAGEMENT *Farrell, Healer & Company, Inc. Aerospace ASSOCIATES, INC. Richard Farrell Harvey Chet Krentzman *The First Boston Corporation "Northrop Corporation BLP Associates George L. Shinn Thomas V. Jones Bernard L. Plansky PNEUMO CORPORATION Kaufman & Company Sumner Kaufman Gerard A. Fulham BOSTON CONSULTING GROUP, INC. * Leach & Garner Apparel Arthur R Contas Philip Leach

'Knapp King Size Corporation Rath & Strong, Inc. *Narragansett Capital Winthrop A. Short Arnold 0. Putnam Corporation

William Carter Company Small Business Foundation of Arthur D. Little Leo J. Feuer America, Inc. TA ASSOCIATES Richard Giesser Peter A. Brooke Architecture/ Design

Jung/Brannin Food/ Hotel/ Restaurant Associates, Inc. Education Yu Sing Jung Boston Park Plaza Hotel & *Bentley College Selame Design Towers Gregory H. Adamian Joe Selame Roger A. Saunders STANLEY H. KAPLAN Boston Showcase Company Banking EDUCATIONAL CENTER Jason Starr Susan BANK OF B. Kaplan BOSTON CREATIVE GOURMETS LTD. William L. Brown Electronics Stephen E. Elmont BANK OF NEW ENGLAND *Parlex Corporation Dunkin' Donuts, Inc. Peter H. McCormick Herbert W Pollack Robert M. Rosenberg

41 We invite you to join us before or after Symphony for a fine dining experience. We're so close you can almost hear

the music. I

Lunch - 11:30 - 3 pm Dinner - 5 -11pm BAR SPECIALS-^ - 6 pm 10 - 12 pm CAFE AMALFI ITALIAN RESTAURANT SPECIAL FUNCTIONS and 8-10 WESTLAND AVENUE LARGE GROUPS ACCOMMODATED BOSTON, MASS./ 536-6396 RESERVATIONS RECOMMENDED

PACKAGING NEW ENGLAND'S FINEST PRODUCTS TheAtrium cafe and piano bar at the bostonian hotel. Manufacturers of An Oasis of Calm Quality Folding Cartons. in the heartof faneuil hall marketplace.

Soft, traditional jazz sounds from five in the afternoon. Seasonal cocktails and wines by the glass from noon. Sidewalk cafe.

ISTWDftRPBC^

1617)884-4200 28 Gerrish Avenue. Chelsea, MA 02150 ^ 42 "" - ' . .

-' '"- ' ' "'' r:~\ . -

^EAITH HAS ITS REmRDS.

For a personal appointment, call Dean Ridlon, Vice President, Private Banking Group Bank of Boston (617)434-5302 ^ Boston s Financial District and BackBay (g 1984 Jhe First National Bank ofBoston; Member FBJC

*- ->-„- - .-; • - : ... ,.,. ^ ,:,..-'. _ -

WM

* Howard Johnson Company POLAROID CORPORATION *Loomis Sayles & Company G. Michael Hostage William J. McCune, Jr. Robert L. Kemp

Inncorp, Ltd. RAYTHEON COMPANY Moseley, Hallgarten, Estabrook Harry Axelrod Thomas L. Phillips & Weeden, Inc. Fred S. Moseley Johnson, O'Hare Company, Inc. *Systems Engineering & Harry O'Hare Manufacturing Corporation Tucker, Anthony & R.L. Day,

*0'Donnell-Usen Fisheries Steven Baker Inc. Corporation *Transitron Electric Corporation Gerald Segel Irving Usen David Bakalar * Woodstock Corporation RED LION INN Frank B. Condon Insurance John H. Fitzpatrick Legal Arkwright-Boston Insurance Roberts and Associates Frederick J. Bumpus Gadsby & Hannah Warren Pierce Jeffrey P Somers *Cameron & Colby Company, THE SHERATON Inc. Goldstein & Manello CORPORATION Lynford M. Richardson Richard J. Snyder John Kapioltas * Commercial Union Assurance *Herrick & Smith Silenus Wines, Inc. Companies Malcolm D. Perkins James B. Hangstefer Howard H. Ward Nissenbaum Law Offices Sonesta International Hotels * Frank B. Hall & Company of Gerald L. Nissenbaum Corporation Massachusetts, Inc. Paul Sonnabend Manufacturing John B. Pepper THE STOP & SHOP JOHN HANCOCK MUTUAL Acushnet Company COMPANIES, INC. LIFE INSURANCE COMPANY John T. Ludes Avram Goldberg J. E. James Morton Bell Manufacturing Company THE WESTIN HOTEL LIBERTY MUTUAL Irving W. Bell Bodo Lemke INSURANCE COMPANY Checon Corporation Melvin B. Bradshaw Donald E. Conaway Furnishings/ Housewares NEW ENGLAND MUTUAL COUNTRY CURTAINS Dennison Manufacturing LIFE INSURANCE COMPANY Company Jane P Fitzpatrick Edward E. Phillips Nelson S. Gifford

High Technology/ Computers PRUDENTIAL INSURANCE Econocorp, Inc. COMPANY OF AMERICA Analytical Systems Engineering Richard G. Lee Robert J. Scales Corporation FLEXcon Company, Inc. Michael B. Rukin Sun Life Assurance Company of Mark R. Ungerer Canada Aritech Corporation GENERAL ELECTRIC John D. McNeil James A. Synk COMPANY

Automatic Data Processing Investments John F. Welch, Jr.

Josh Weston *ABD Securities Corporation GENERAL ELECTRIC

'Computer Partners, Inc. Theodor Schmidt-Scheuber COMPANY/LYNN James R Krebs Paul J. Crowley Amoskeag Company 'Data Packaging Corporation Joseph B. Ely GILLETTE COMPANY Otto Morningstar BLYTH EASTMAN PAINE Colman M. Mockler, Jr. Epsilon Data Management, Inc. WEBBER INC. Guzovsky Electrical Corporation

Thomas 0. Jones James F. Cleary Edward Guzovsky

General Eastern Instruments *E.F. Hutton & Company, Inc. Inland Steel-Ryerson Corporation S. Paul Crabtree Foundation, Inc. Pieter R. Wiederhold Goldman, Sachs & Company Robert L. Atkinson Helix Technology Corporation Stephen B. Kay Kendall Company Frank Gabron Kensington Investment J. Dale Sherratt IBM CORPORATION Company L.E. Mason Company Paul Palmer J. Alan E. Lewis Harvey B. Berman

43 COPLEY

PLACE like at Copley Square in the Back Bay

«'

Prelude.

Copley Place is where beautiful evenings begin. Here you can shop for every fashion need. From elegant occasions to casual gatherings with friends. In The Shopping Galleries at Copley Place you will find all that's new and beautiful from this country and abroad. Nieman-Marcus and 100 exceptional shops and boutiques await you! To add to your pleasures there are 9 cinemas, 13 restaurants and the new Westin and Marriott hotels. * Kay Bee Toy & Hobby Shops, National Lumber Company Baldwin Piano & Organ Inc. Louis I. Kaitz Company Harrison Howard Kaufman NEW ENGLAND BUSINESS R.S. Zildjian Company Marshall's, Inc. SERVICE, INC. Avedis Zildjian Frank H. Brenton Richard H. Rhoads Armand *Saks Fifth Avenue Norton Company Printing/ Publishing Robert Hoffman Donald R. Melville J. *ADCO Publishing Company, Inc. :> Stuart's Department Stores, Inc. "Packaging Industries, Inc. Samuel Gorfinkle Paul Cammarano John D. Bambara Bowne of Boston *Zayre Corporation Parker Brothers William Gallant Maurice Segall Richard E. Stearns CAHNERS PUBLISHING Plymouth Rubber Company, Inc. COMPANY, INC. Science/ Medical Maurice Hamilburg J. Norman L. Cahners *Charles River Breeding Scully Signal Company CLARK-FRANKLIN- Laboratories, Inc. Robert G. Scully KINGSTON PRESS Henry L. Foster Simplex Time Recorder Lawrence Dress Damon Corporation

Company David I. Kosowsky Customforms, Inc. Glenn R. Peterson David A. Granoff Hospital Corporation of America Superior Pet Products, Inc. Foundation * Daniels Printing Company HCA Richard J. Phelps Donald E. Strange Lee Daniels 'Towle Manufacturing Company HOUGHTON MIFFLIN Shoes Leonard Florence COMPANY *Jones & Vining, Inc. 'Trina, Inc. Marlowe G. Teig Sven Vaule, Jr. Thomas L. Easton * Label Art, Inc. * Mercury International Trading Webster Spring Company, Inc. J. William' Flynn A.M. Levine Corporation Hill, Inc. McGraw Irving Wiseman Wellman, Inc. Joseph L. Dionne MORSE SHOE, INC. Arthur 0. Wellman, Jr. Cummins Real Estate/ Development Kenneth C. Media COMPANIES, Combined Properties, Inc. THE SPENCER GLOBE/ INC. BOSTON Stanton L. Black AFFILIATED PUBLICATIONS C. Charles Marran Corcoran Mullins Jennison, Inc. William 0. Taylor STRIDE RITE CORPORATION Joseph Corcoran Boston Herald Arnold S. Hiatt Hilon Development Corporation Patrick J. Purcell Eliachar t'here Haim Software/ Information Services General Cinema Corporation iegin. Northland Investment Richard A. Smith Henco Software, Inc. Corporation Henry Cochran or WBZ-TV 4 Robert A. Danziger Thomas L. Goodgame Interactive Data Corporation WCIB-FM Stanmar, Inc. Carl G. Wolf Stanley W. Snider Lawrence K. Justice INVESTMENT & Travel/ Transportation WCRB/CHARLES RIVER URBAN DEVELOPMENT COMPANY/ * Heritage Travel Place BROADCASTING, INC. COPLEY PLACE Donald Sohn Richard L. Kaye lew R.K. Umscheid *The Trans-Lease Group

;his WCVB-TV 5 John J. McCarthy, Jr. S. James Coppersmith Retailing

WNEV-TV 7 /New England WM. FILENE'S & SONS Utilities Television and COMPANY BOSTON EDISON COMPANY Seymour L. Yanoff Michael Babcock Thomas Galligan, Jr. badd J. J.

Westinghouse Broadcasting & Hills Stores * Fuel Associates -eare Department Eastern Gas & Cable, Inc. Stephen A. Goldberger William J. Pruyn rants Lawrence P. Fraiberg Jordan Marsh Company NEW ENGLAND TELEPHONE id Musical Instruments Elliot Stone Gerry Freche 45 CODINTHIA's Gallery of Needle Arts HAND PAINTED CANVASSES CUSTOM DESIGNS KNITTING YARNS

1160 BOYLSTON STREET, CHESNUT HILL MA 02167, (617) 277-7111

HOURS: 10:00 A.M. TO 4:30 P.M. MONDAY THROUGH SATURDAY

The perfect St^otofpruT^stAuratt-' prelude. The grand finale.

JILDxperience superb cuisine amidst lavish surroundings that have been recreated from A charming 19th Century Townhouse the spirit of the roaring twenties serving superb continental cuisine in all their elegant glory. Before in contemporary informal elegance. Offering lunch and dinner with a variety or after the symphony, Cafe of fresh seafood specials daily, and our Rouge is a dining experi- after theatre cafe menu till midnight. ence that's perfectly grand. Sewing Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun.-Thurs. CAFE, 6:00-12:00 Fri.-Sat. FDU& Brunch: 1 1:00-3:00 Sat. & Sun. reservations: 266-3030

at the Boston Park Plaza Hotel & Towers 99 St. Botolph Street On Park Plaza at Arlington Street behind the Colonnade Hotel For reservations call 426-2000 Par'cing Available

46 MR RS £SJ BmSIs The following Members of the Massa- UGH chusetts High Technology Council COUNGL support the BSO through the BSO

- Business & Professional Leadership AFin? Program:

Alpha Industries, Inc. DYNATECH CORPORATION M/A-COM, INC. George S. Kariotis J.P Barger Vessarios G. Chigas EPSCO, Inc. Massachusetts High Technology ANALOG DEVICES, INC. Wayne P Coffin Council, Inc. Ray Stata Foxboro Company Howard P. Foley The Analytic Sciences Earle W. Pitt Millipore Corporation Corporation GCA Corporation Dimitri d'Arbeloff Arthur Gelb Milton Greenberg PRIME COMPUTER, INC. *Augat, Inc. GTE ELECTRICAL Joe M. Henson Roger D. Wellington PRODUCTS * Printed Circuit Corporation Barry Wright Corporation Dean T. Langford Peter Sarmanian Ralph Z. Sorenson *GenRad Foundation SoiTech, Inc. *Bolt Beranek and Newman Inc. Lynn Smoker Justus Lowe, Jr. Stephen Levy *Haemonetics, Inc. TERADYNE, INC. Computervision Corporation John F. White Alexander V. d'Arbeloff Martin Allen Honeywell Information Systems Thermo Electron Corporation *Cullinet Software, Inc. Warren G. Sprague George N. Hatsopoulos John J. Cullinane Instron Corporation Unitrode Corporation DIGITAL EQUIPMENT Harold Hindman George M. Berman CORPORATION Arthur D. Little, Inc. WANG LABORATORIES, INC. Kenneth H. Olsen John F. Magee An Wang

th 1984 is our 75 Anniversary

c Ganteaume & M Mullen , Inc. Architects • Engineers

99 Chauncy Street at Lafayette Place, Boston, 617«423«7450

47 SUBSCRIBE NOW TO THE 1984-85 SEASON!

'.' '.".'.'.'.'.' ...... " . .' > BOSTON SYMPHONY Chamber

AT JORDAN

It "... THE HIGHEST INTERNATIONAL LEVEL OF CHAMBER fo, ." B: MUSIC PLAYING . . -™ boston giok th;

THREE SUNDAY AFTERNOONS at 3PM

GILBERT KALISH, PIANIST

SUNDAY Mozart Quintet in E-flat for piano and winds, K.452 DECEMBER 2 Schumann 'Mdrchenerzahlungen' ('Fairy Tales'), jqoa Op. 132, for viola, clarinet, and piano Dvorak Quartet in E-flat for piano and strings, Op. 87

SUNDAY Saint-Saens Caprice on Danish and Russian Airs, Op. 79,

f° r ancJ winds FEBRUARY I 7 P' ano jAoe Leon Kirchner New work commissioned by the it Boston Symphony Orchestra for its centennial

Schubert Trio No. 1 in B-flat for piano, violin, and cello, D.898

SUNDAY with JAN DEGAETANI, MEZZO-SOPRANO MARCH 31 OLIVER KNUSSEN, CONDUCTOR 1985 Robin Holloway Fantasy- Pieces, Op. 16, on the Heine 'Liederkreis' of Robert Schumann, for piano and twelve instruments Schumann 'Liederkreis,' Op. 24 Schumann Quintet in E-flat for piano and strings, Op. 44

NEW SUBSCRIBER FORM: There are still good seats available for the 1984/85 season. You may become a subscriber by indicating your choice of location and price and by returning this form with a check pay- able to Boston Symphony to: New Subscriber, Symphony Hall, Boston, MA 02115.

SUBSCRIPTION PRICES: %?j*#s), $23.50, $17.00. The 2 remaining prices listed are for both orchestra & balcony. For further information, call (617) 266-1492.

LOCATION PRICE NO. OF TICKETS TOTAL $

Name Addr

City State Zip Code

Day Phone Evening Phone

48 —

Coming Concerts . . .

Thursday 'A' Wednesday , 21 November, 8-10 Real Estate Management Friday 4 B'— 23 November, 2-4 Brokerage and Consulting Services Saturday 'B'— 24 November, 8-10 Since 1898 Tuesday 'B'— 27 November, 8-10 SEIJI OZAWA conducting

Haydn Symphony No. 7, Noon Takemitsu Concerto for Guitar and Orchestra (U.S. premiere)

SAUNDERS & ASSOCIATES MANUEL BARRUECO, guitar 20 Park Plaza Boston MA • 02116 Tchaikovsky Symphony No. 2, (617)426-0720 Little Russian

Wednesday, 28 November at 7:30 Open Rehearsal Rental apartments Marc Mandel will discuss the program for people who'd at 6:45 in the Cohen Annex. rather near French horns Thursday 'C—29 November, 8-9:40 Friday 'A'— 30 November, 2-3:40 than Car hornS* Enjoy easy living within easy reach of Symphony Hall. Saturday 'A' — 1 December, 8-9:40 New in-town apartments SEIJI OZAWA conducting ith doorman, harbor views, all luxuries, Mahler Symphony No. 9 health club. Wednesday, 5 December at 7:30 land 2 rooms and Open Rehearsal penthouse duplex Steven Ledbetter will discuss the program apartments. at 6:45 in the Cohen Annex. v THE DEVONSHIRE Thursday 'A' —6 December, 8-9:30 Friday 'B' — 7 December, 2-3:30 ^w,. One Devonshire Place. (Between Washington Saturday 'B'—8 December, 8-9:30 I = T and Devonshire Streets, off State Street) Boston. 8-9:30 Renting Office Open 7 Days. Tel: (617) 720-3410. Tuesday 'C — 11 December, Park tree in our indoor garage while inspecting models. SEIJI OZAWA conducting Honegger Jeanne d'Arc au biicher MARTHE KELLER (Jeanne) Special pre-theatre dinner available GEORGES WILSON (Frere Dominique) MARY BURGESS, soprano (The Virgin) MARY SHEARER, soprano (Marguerite) JOCELYN TAILLON, mezzo-soprano (Catherine) JOHN GILMORE, tenor TERRY COOK, bass TANGLEWOOD FESTIVAL CHORUS, UattrSji JOHN OLIVER, conducting BOSTON BOY CHOIR, THEODORE MARIER, director YOUTH PRO MUSICA, Continental Cuisine ROBERTA HUMEZ, director on the Charles 10 Emerson Place Boston 742-5480

Programs subject to change.

49 jvmf Jaeger salutes

the Boston 10 Symphony Orchestra

IECiER LONDON

INK Jaeger International Shop The Mall at Chestnut Hill Newton, MA (617)527-1785

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ore\ MORE MUSIC phor

FORYOUR MONEY. phi Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at the Classical Record Center at Barnes & Noble.

When it comes to classical music, you always get more for your money at Barnes & Noble.

Classical Record Center rece at Barnes & Noble

395 Washington Street (at Downtown Crossing) BARNES Mon.-Fri., 9:30-6:30 Sat., 9:30-6:00 &NOBLE Sun., 12:00-6:00

50 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND each, one to a customer, at the Symphony Hall- TICKET INFORMATION, call (617) 266-1492. West Entrance on Fridays beginning 9 a.m. and For Boston Symphony concert program informa- Saturdays beginning 5 p.m. tion, call "C-O-N-C-E-R-T." LATECOMERS will be seated by the ushers dur-

THE BOSTON SYMPHONY performs ten ing the first convenient pause in the program. months a year, in Symphony Hall and at Tangle - Those who wish to leave before the end of the wood. For information about any of the orches- concert are asked to do so between program tra's activities, please call Symphony Hall, or pieces in order not to disturb other patrons. write the Boston Symphony Orchestra, Sym- SMOKING IS NOT PERMITTED in any part of phony Hall, Boston, MA 02115. the Symphony Hall auditorium or in the sur-

THE EUNICE S. AND JULIAN COHEN rounding corridors. It is permitted only in the

ANNEX, adjacent to Symphony Hall on Hunt- Cabot-Cahners and Hatch rooms, and in the ington Avenue, may be entered by the Symphony main lobby on Massachusetts Avenue. Hall West Entrance on Huntington Avenue. CAMERA AND RECORDING EQUIPMENT FOR SYMPHONY HALL RENTAL INFORMA- may not be brought into Symphony Hall during TION, call (617) 266-1492, or write the Func- concerts. tion Manager, Symphony Hall, Boston, MA FIRST AID FACILITIES for both men and 02115. women are available in the Cohen Annex near

THE BOX OFFICE is open from 10 a.m. until 6 the Symphony Hall West Entrance on Hunt- p.m. Monday through Saturday; on concert eve- ington Avenue. On- call physicians attending con- nings, it remains open through intermission for certs should leave their names and seat locations BSO events or just past starting-time for other at the switchboard near the Massachusetts Ave- events. In addition, the box office opens Sunday nue entrance. at 1 p.m. when there is a concert that afternoon WHEELCHAIR ACCESS to Symphony Hall is or evening. Single tickets for all Boston Sym- available at the West Entrance to the Cohen phony concerts go on sale twenty-eight days Annex. before a given concert once a series has begun, and phone reservations will be accepted. For AN ELEVATOR is located outside the Hatch and outside events at Symphony Hall, tickets will be Cabot-Cahners rooms on the Massachusetts Ave- available three weeks before the concert. No nue side of the building. phone orders will be accepted for these events.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket available for resale by calling the switch- board. This helps bring needed revenue to the orchestra and makes your seat available to some- one who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-afternoon and Saturday- evening Boston Symphony con- certs (subscription concerts only). The continued low price of the Saturday tickets is assured A Boston Tradition through the generosity of two anonymous 41 UNION STREET 227-2750 donors. The Rush Tickets are sold at $5.00

51 LADIES' ROOMS are located on the orchestra concerts are broadcast live by the following FM level, audience-left, at the stage end of the hall, stations: WGBH (Boston 89.7), WFCR (Amher] and on the first-balcony level, audience-right, 88.5), and WAMC (Albany 90.3); in Maine by outside the Cabot-Cahners Room near the WMED (Calais 89.7), WMEA (Portland 90.1), elevator. WMEH (Bangor 90.9), WMEW (Waterville

91.3), and WMEM (Presque Isle 106.1); and inl MEN'S ROOMS are located on the orchestra Connecticut by WMNR (Monroe 88.1), WNPIl] level, audience-right, outside the Hatch Room (Norwich 89.1), WPKT (Hartford 90.5), and near the elevator, and on the first-balcony level, WSLX (New Canaan 91.9). Live Saturday- audience-left, outside the Cabot-Cahners Room evening broadcasts are carried by WGBH and near the coatroom. WCRB (Boston 102.5). If Boston Symphony COATROOMS are located on the orchestra and concerts are not heard regularly in your home first-balcony levels, audience-left, outside the area and you would like them to be, please call Hatch and Cabot-Cahners rooms. The BSO is not WCRB Productions at (617) 893-7080. WCRE| responsible for personal apparel or other prop- will be glad to work with you and try to get the erty of patrons. BSO on the air in your area.

LOUNGES AND BAR SERVICE: There are two BSO FRIENDS: The Friends are annual donors lounges in Symphony Hall. The Hatch Room on to the Boston Symphony Orchestra. Friends the orchestra level and the Cabot-Cahners Room receive BSO, the orchestra's newsletter, as well on the first-balcony level serve drinks starting as priority ticket information and other benefits one hour before each performance. For the Fri- depending on their level of giving. For informa- day-afternoon concerts, both rooms open at tion, please call the Development Office at Sym-I 12:15, with sandwiches available until concert phony Hall weekdays between 9 and 5. If you time. are already a Friend and you have changed you:

BOSTON SYMPHONY BROADCASTS: Con- address, please send your new address with you ! certs of the Boston Symphony Orchestra are newsletter label to the Development Office, heard by delayed broadcast in many parts of the Symphony Hall, Boston, MA 02115. Including United States and Canada, as well as interna- the mailing label will assure a quick and accural tionally, through the Boston Symphony Tran- change of address in our files. scription Trust. In addition, Friday-afternoon

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